Dallas Observer's Scores

  • Movies
For 1,518 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 4.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 Cinderella Man
Lowest review score: 0 How to Lose a Guy in 10 Days
Score distribution:
1518 movie reviews
  1. Sugar Town's tunes are terrific, and the writing is sharp. But the typecasting is a work of genius.
  2. It is engaging, touching, and frequently funny. Maybe because his hero is inarticulate and his heroine is mute, Allen relies far more than usual on physical comedy than on the verbal jokes that are his strongest comic suit.
  3. If Steven Soderbergh taught Clooney how to act in "Out of Sight," then Reitman has taught him how to stop acting. This is the most vulnerable, the most playful, the most human performance of his career.
  4. The Wachowskis still hold the current franchise on intellectually engaging action films. It's not like I won't be heading back for a second (or even third) look.
  5. A remarkable movie, because, like "Crumb" or even "American Splendor," it adores the very people most of us might ignore if they passed us on the street. It's a love letter to someone who desperately needs one, even 10 years after his death.
  6. The bulk of the film showcases some of the best direction of actors this year.
  7. It's a powerfully ersatz experience, but at least it's powerful. There's a lot to like here: At three hours and 14 minutes, the film takes longer to watch than the Titanic took to sink.
  8. Eastwood provides more than an hour of easygoing fun, followed by 45 minutes of action and suspense.
  9. Full of intellectual stimulation as well as low, dark pleasures--"Carnal Knowledge" redux!
  10. A fascinating, highly literate film.
  11. The movie is stirringly, thrillingly animated; Stander, as some say around Johannesburg, lives.
  12. For those with a taste for epics that integrate the historical and the intimate.
  13. Though we know the story's final outcome, the trial scene and its aftermath are no less shocking and affecting.
  14. Both actors are marvelous, and the film, low-key but heartfelt, is a gem.
  15. Willis gives a remarkable, wrenching performance: He is the most fragile indestructible man ever created.
  16. The plot's a trifle, but so what. Director Lynn (My Cousin Vinny) stages a series of seamless, ebullient show-stoppers that encompass every musical style from gospel and soul to contemporary R&B and hip-hop, and the choreography ranks with anything you'll find on Broadway.
  17. Braugher does much to hold this show together, because without him, the reality gets muddled. He's a terrific balancing agent for both Caviezel and Quaid; kudos to casting.
  18. It's excessively quirky and a little underconfident in its delivery, but otherwise this is the best "old neighborhood" project since Christopher Walken kinda romanced Cyndi Lauper in "The Opportunists."
  19. The Saint exists almost entirely as a vehicle for Kilmer's quick-change smarty-pants swagger, and it's inconceivable without him. He's great fun to watch--a squirish master thief with a wide streak of lewdness.
  20. Supremely enjoyable.
  21. Wildly enjoyable look at the fifth-grade ballroom dance competition held annually in New York City.
  22. This full-tilt visual and aural bombardment is simply a lot of fun. It never lets up. Nor does it ever want to.
  23. An entertainment success, a triple threat of fresh writing, inspired directing, and, yes, good acting.
    • 41 Metascore
    • 80 Critic Score
    It's a hilarious, dumb comedy that's smart enough to be something more. And all it does is make Sandler the most soulful -- and the funniest -- comic in the business.
  24. Indeed heartwarming, though not simplemindedly so.
  25. Cheadle, always a fine actor, is outstanding here--an almost willfully naive yet uncommonly decent man who sees civilization crashing and burning around him yet who, almost against his own better judgment, refuses to give in to it.
  26. Gilroy has brilliantly played to his strengths in Spring Forward. With a story that has no room for big, obviously "cinematic" effects, he concentrates on simple staging, unobtrusive (though often beautifully evocative) visuals, and sheer performance. It's a decision that pays off.
  27. Alternately heartrending and buoyant, tragic and sweetly humorous, the film leaves an indelible impression on the heart and mind. It's among the best of the year.
  28. Unsettling, morally complex and timely view of American power abroad. Many will find it courageous and some, no doubt, will absolutely revile it, but no one is likely to look away from the screen.
  29. The resulting piece resonates upon the American condition, deliciously detailing the whimsy, violence, intolerance, and shallow fantasies that fuel this nation. Oh yeah, and it's funny.

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